Fusheng Temple

　　Fusheng Temple, a National Key Cultural Relics Protection Unit, is located in Guangcun Village, north of Zezhang Town, Xinjiang County. According to the "Ministry of Rites Edict" preserved in the temple, it was commissioned by Emperor Taizong of the Tang Dynasty during the Zhenguan era (627–649 AD) and bestowed the name "Fusheng Monastery" in 1163 AD during the Jin Dynasty’s Dading era. It underwent renovations during the Song and Yuan dynasties, and was further restored in 1498 AD during the Ming Dynasty’s Hongzhi era. The temple complex features an elegantly arranged layout with buildings of varying heights, all facing south. Along the central axis are four courtyards, including the Mountain Gate, Heavenly King Hall, Amitabha Hall, and Rear Main Hall, flanked by imposing Bell and Drum Towers, and complemented by side halls and auxiliary chambers in an orderly arrangement.

　　Structures such as the Heavenly King Hall and Goddess Hall still stand, though their polychrome sculptures have been completely lost. A small memorial archway for the Confucian school was built during the Qing Dynasty.

　　The Amitabha Hall is five bays square, surrounded by corridors, with a double-eaved hip-and-gable roof. It employs bracket sets of the fifth grade with double downward cantilevers. The beams and bracket arms intersect above the golden pillars, featuring components such as the four-rafter tie beam and rear breast tie beam, making it a Yuan Dynasty structure, though recorded to have been renovated in the Hongzhi era of the Ming Dynasty. The hall houses sculptures of Amitabha Buddha along with attendant bodhisattvas Guanyin and Mahasthamaprapta. Behind the throne of Amitabha Buddha, suspended sculptures depict Guanyin of the South Sea, the Boy Sudhana, Wisdom Kings, and worshippers. These polychrome sculptures exhibit the style of the Song Dynasty and are of exceptional artistic value due to their exquisite craftsmanship. The plump and graceful figure of Guanyin of the South Sea, with delicate features and a benevolent expression, stands atop auspicious clouds carried by a "skyward-roaring dragon," floating gracefully. Her attendant, Sudhana, is never far from her side, while the Wisdom King, regarded in Buddhism as an all-powerful figure capable of subduing demons, follows closely behind. The background portrays turbulent seas. The artist used expressive cloud formations to depict the divine aura of Guanyin riding the wind and crossing the sea. Soft bluish-green coloring illustrates the vastness and turbulence of the ocean. High and low relief techniques are employed to carve wave patterns, enhancing the three-dimensional effect of the sculptures against the flat background—a rather unique artistic approach. On both sides of the Amitabha Hall are 18 Arhats supplemented during the Jin Dynasty and the Four Heavenly Kings added in the Ming Dynasty. The Arhats display diverse expressions and postures, sitting or lying in natural, lifelike poses. The Four Heavenly Kings in the temple each have distinct titles, costumes, and ritual implements: the Eastern Heavenly King Vaishravana (white, holding a pipa), the Southern Heavenly King Virudhaka (blue, holding a sword), the Western Heavenly King Virupaksha (red, holding a dragon banner), and the Northern Heavenly King Dhritarashtra (green, holding an umbrella in the right hand and a silver mouse in the left). Commonly referred to as the "Four Great Kings" or said to govern the elements of wind, rain, thunder, and prosperity.

　　The Rear Main Hall, also known as the Scripture Depository, consists of seven bays across two levels. The upper level serves as the scripture depository, while the lower level houses three Buddha Caves. The caves contain polychrome sculptures of Sakyamuni accompanied by Guanyin and Ksitigarbha, Amitabha with Manjushri and Samantabhadra, and Bhaisajyaguru with Suryaprabha and Candraprabha—all Yuan Dynasty works. Owing to limited public access, these sculptures are exceptionally well-preserved, appearing as though newly crafted, and hold extremely high artistic value.